This book surveys the life and work of the great American composer Elliott Carter (1908–2012). It examines his formative, and often ambivalent, engagements with Charles Ives and other ...
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This book surveys the life and work of the great American composer Elliott Carter (1908–2012). It examines his formative, and often ambivalent, engagements with Charles Ives and other “ultra-modernists”, with the classicist ideas he encountered at Harvard and in his three years of study with Nadia Boulanger in Paris; and with the populism developed by his friends Aaron Copland and Marc Blitzstein in Depression-era New York, and the unique synthesis of modernist idioms that he began to develop in the late 1940s. The book re-groups the central phase of Carter’s career, from the Cello Sonata to Syringa in terms of Carter’s synthesis of European and American modernist idioms, or “neo-modernism,” and his complex relation to the European avant-garde. It devotes particular attention to the large number of instrumental and vocal works of Carter’s last two decades, including his only opera, What Next?, and a final legacy project: seven works for voice and large ensemble to poems by the founding generation of American modern poetry: e.e. cummings, T.S. Eliot, Marianne Moore, Ezra Pound, Wallace Stevens and William Carlos Williams.Less

Carter

David Schiff

Published in print: 2018-08-01

This book surveys the life and work of the great American composer Elliott Carter (1908–2012). It examines his formative, and often ambivalent, engagements with Charles Ives and other “ultra-modernists”, with the classicist ideas he encountered at Harvard and in his three years of study with Nadia Boulanger in Paris; and with the populism developed by his friends Aaron Copland and Marc Blitzstein in Depression-era New York, and the unique synthesis of modernist idioms that he began to develop in the late 1940s. The book re-groups the central phase of Carter’s career, from the Cello Sonata to Syringa in terms of Carter’s synthesis of European and American modernist idioms, or “neo-modernism,” and his complex relation to the European avant-garde. It devotes particular attention to the large number of instrumental and vocal works of Carter’s last two decades, including his only opera, What Next?, and a final legacy project: seven works for voice and large ensemble to poems by the founding generation of American modern poetry: e.e. cummings, T.S. Eliot, Marianne Moore, Ezra Pound, Wallace Stevens and William Carlos Williams.

This book examines church music and public concert music in Leipzig, Germany, a city in Saxony, in the period between 1750 (the year Thomaskantor Johann Sebastian Bach died) and 1847 (the year that ...
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This book examines church music and public concert music in Leipzig, Germany, a city in Saxony, in the period between 1750 (the year Thomaskantor Johann Sebastian Bach died) and 1847 (the year that Gewandhaus orchestra conductor Felix Mendelssohn Bartholdy died). The century in between these events was critically important for sacred music and public concert music. During this period, Leipzig’s church music enterprise, a bulwark of orthodox Lutheranism, was convulsed by repeated external threats—a growing middle class that viewed music as an object of public consumption, religious and political tumult, and the chaos of the Seven Years' War and the invasion of Napoleon. How church and concert life in Leipzig changed because of these forces is the focus of this book. Whereas most European cities saw their public concerts grow out of secular institutions such as a royal court or an opera theater, neither of these existed when Leipzig’s first subscription concert series, the Grosse Concert, was started in 1743. Instead, the city had a thriving church music enterprise that had been brought to its zenith by Bach. Paid subscription concerts therefore found their roots in Leipzig’s church music tradition, with important and unique results.Less

Leipzig After Bach : Church and Concert Life in a German City

Jeffrey S. Sposato

Published in print: 2018-07-26

This book examines church music and public concert music in Leipzig, Germany, a city in Saxony, in the period between 1750 (the year Thomaskantor Johann Sebastian Bach died) and 1847 (the year that Gewandhaus orchestra conductor Felix Mendelssohn Bartholdy died). The century in between these events was critically important for sacred music and public concert music. During this period, Leipzig’s church music enterprise, a bulwark of orthodox Lutheranism, was convulsed by repeated external threats—a growing middle class that viewed music as an object of public consumption, religious and political tumult, and the chaos of the Seven Years' War and the invasion of Napoleon. How church and concert life in Leipzig changed because of these forces is the focus of this book. Whereas most European cities saw their public concerts grow out of secular institutions such as a royal court or an opera theater, neither of these existed when Leipzig’s first subscription concert series, the Grosse Concert, was started in 1743. Instead, the city had a thriving church music enterprise that had been brought to its zenith by Bach. Paid subscription concerts therefore found their roots in Leipzig’s church music tradition, with important and unique results.

Colleen T. Dunagan

Consuming Dance examines dance in television and online advertising as both cultural product and cultural meaning-maker. The text interweaves semiotics, choreographic analysis, cultural studies, ...
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Consuming Dance examines dance in television and online advertising as both cultural product and cultural meaning-maker. The text interweaves semiotics, choreographic analysis, cultural studies, media studies, and critical theory to place contemporary dance-in-advertising in dialogue with other dance media. Grounding contemporary advertising within media and cultural history, the work both analyzes examples from early television and performs semiotic readings of historical references within later ads. Analysis of individual commercials and campaigns reveals how commercials act as rhizomatic assemblages of cultural history as traditional advertising positioning strategies engage with content, conventions, and discourses from other disciplines and cultural forms. The text explores the power of dance in advertising, examining how it generates affect and spectacle in service of both brand identity and the construction of the commodity-sign. This analysis of dance’s power, in turn, reveals advertising’s intertextuality and its contributions to social identity and the construction of the neoliberal subject. Ultimately, the text highlights advertising’s contradictions, exposing how its appropriation of dance functions as a response simultaneously to marketing needs, shifting ideologies, and growing cultural diversity all while continuing to serve the needs of neoliberal capitalism.Less

Consuming Dance : Choreography and Advertising

Colleen T. Dunagan

Published in print: 2018-07-26

Consuming Dance examines dance in television and online advertising as both cultural product and cultural meaning-maker. The text interweaves semiotics, choreographic analysis, cultural studies, media studies, and critical theory to place contemporary dance-in-advertising in dialogue with other dance media. Grounding contemporary advertising within media and cultural history, the work both analyzes examples from early television and performs semiotic readings of historical references within later ads. Analysis of individual commercials and campaigns reveals how commercials act as rhizomatic assemblages of cultural history as traditional advertising positioning strategies engage with content, conventions, and discourses from other disciplines and cultural forms. The text explores the power of dance in advertising, examining how it generates affect and spectacle in service of both brand identity and the construction of the commodity-sign. This analysis of dance’s power, in turn, reveals advertising’s intertextuality and its contributions to social identity and the construction of the neoliberal subject. Ultimately, the text highlights advertising’s contradictions, exposing how its appropriation of dance functions as a response simultaneously to marketing needs, shifting ideologies, and growing cultural diversity all while continuing to serve the needs of neoliberal capitalism.

In light of the recent historiography of Vichy, which stresses its initial political concession, competing factions, and then escalating collaboration with the occupant, this book proposes new ...
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In light of the recent historiography of Vichy, which stresses its initial political concession, competing factions, and then escalating collaboration with the occupant, this book proposes new questions concerning the shifting nature of French cultural as well as political identity. As the occupation advanced, how did those responsible for cultural policies attempt to adapt their conceptions of French values to accord with the agenda of collaboration in all professional fields? How was French cultural identity and its relation to German culture gradually reconceived by both the occupant and by Vichy as the former played an increasingly interventionist role in music, a symbolic stake in the national self-image of both regimes? Employing the theoretical insights of Gramsci and Bourdieu into hegemony and how it is achieved and combated, this book examines the ways in which musical works were fostered or appropriated and transmitted—physically inscribed, framed, and presented during different phases of the regime as specific groups assumed power. As this study concomitantly demonstrates, we find not only accommodation but also resistance among those artists involved with Vichy’s institutions, and especially in music, where new cultural practices, strategies, and modes of communication emerged as musicians confronted the increasing loss of autonomy in their field. They were forced to assume a position along the spectrum from compliance to resistance on the basis of their perceptions, experience, and subjectivity. Some sought to maintain integrity and avoid appropriation while remaining visible, continuing subtly to innovate and incorporate alternative cultural representations proposed by the Resistance.Less

Renegotiating French Identity : Musical Culture and Creativity in France during Vichy and the German Occupation

Jane F. Fulcher

Published in print: 2018-07-19

In light of the recent historiography of Vichy, which stresses its initial political concession, competing factions, and then escalating collaboration with the occupant, this book proposes new questions concerning the shifting nature of French cultural as well as political identity. As the occupation advanced, how did those responsible for cultural policies attempt to adapt their conceptions of French values to accord with the agenda of collaboration in all professional fields? How was French cultural identity and its relation to German culture gradually reconceived by both the occupant and by Vichy as the former played an increasingly interventionist role in music, a symbolic stake in the national self-image of both regimes? Employing the theoretical insights of Gramsci and Bourdieu into hegemony and how it is achieved and combated, this book examines the ways in which musical works were fostered or appropriated and transmitted—physically inscribed, framed, and presented during different phases of the regime as specific groups assumed power. As this study concomitantly demonstrates, we find not only accommodation but also resistance among those artists involved with Vichy’s institutions, and especially in music, where new cultural practices, strategies, and modes of communication emerged as musicians confronted the increasing loss of autonomy in their field. They were forced to assume a position along the spectrum from compliance to resistance on the basis of their perceptions, experience, and subjectivity. Some sought to maintain integrity and avoid appropriation while remaining visible, continuing subtly to innovate and incorporate alternative cultural representations proposed by the Resistance.

Sense and Sadness is a story of the living practice of Syriac chant in Aleppo, Syria. To understand and explain this oral tradition, the book puts forward the concept of the emotional economy of ...
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Sense and Sadness is a story of the living practice of Syriac chant in Aleppo, Syria. To understand and explain this oral tradition, the book puts forward the concept of the emotional economy of music aesthetics, an economy in which the emotional and the aesthetic interrelate in mutually indicative ways. The book is based on observing chant practice in the Syrian Orthodox Church in contemporary contexts in the Middle East and beyond, while keeping as its nexus of analysis the Edessan chant of St. George’s Church of Hayy al-Suryan and focusing on Passion Week. It examines written sources on the music of Syriac chant in light of ethnographic analysis, thus combining various modes of knowledge on this problematic subject. This historically informed reading of an early Christian liturgical tradition reveals contemporary modes of significance in the dynamic social and political surroundings of a community that endures exile after exile. The book thus places the music, and its subject(s), in a global context the only stable element of which is uncertainty. The first of the book’s four parts addresses issues of contextuality, such as geographic and temporal situationality, along with musical complexity in conceptions of modality. The second and third parts address overlapping modes of knowledge and value, respectively, in the musical ecclesiastical enterprise. The final part brings together the book’s subthemes. Spirituality, ethnic religiosity, authority, and value-based forms of identification and sociality are brought to bear on analyzing ḥasho: the mode, emotion, and time of commemorating divine suffering and human sadness.Less

Sense and Sadness : Syriac Chant in Aleppo

Tala Jarjour

Published in print: 2018-06-28

Sense and Sadness is a story of the living practice of Syriac chant in Aleppo, Syria. To understand and explain this oral tradition, the book puts forward the concept of the emotional economy of music aesthetics, an economy in which the emotional and the aesthetic interrelate in mutually indicative ways. The book is based on observing chant practice in the Syrian Orthodox Church in contemporary contexts in the Middle East and beyond, while keeping as its nexus of analysis the Edessan chant of St. George’s Church of Hayy al-Suryan and focusing on Passion Week. It examines written sources on the music of Syriac chant in light of ethnographic analysis, thus combining various modes of knowledge on this problematic subject. This historically informed reading of an early Christian liturgical tradition reveals contemporary modes of significance in the dynamic social and political surroundings of a community that endures exile after exile. The book thus places the music, and its subject(s), in a global context the only stable element of which is uncertainty. The first of the book’s four parts addresses issues of contextuality, such as geographic and temporal situationality, along with musical complexity in conceptions of modality. The second and third parts address overlapping modes of knowledge and value, respectively, in the musical ecclesiastical enterprise. The final part brings together the book’s subthemes. Spirituality, ethnic religiosity, authority, and value-based forms of identification and sociality are brought to bear on analyzing ḥasho: the mode, emotion, and time of commemorating divine suffering and human sadness.

This book presents a theory of temporal structure for music, making two main arguments. The first is that a single model of temporal structure, expressible in the form of a certain type of ...
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This book presents a theory of temporal structure for music, making two main arguments. The first is that a single model of temporal structure, expressible in the form of a certain type of mathematical network, is common to all modalities, particularly rhythm, tonality, and form. As a result, we can develop tools to talk about the experience of musical time in abstraction from any particular modality, and make analogies from structural phenomena in one modality to another (e.g., formal counterpoint). The second argument is that each of these modalities is in principle independent: it has its own set of structuring criteria, and it may lead to structures that agree or disagree with each other. The resulting coordination or disjunction between modalities is of more direct aesthetic importance, typically, than anything that can be said about one isolated parameter alone. These claims have deep ramifications for theories of rhythm, tonality, and form: for instance, that it is possible to discuss formal structure without necessary reference to tonal features. Theories of harmony, key, formal function, hypermeter, and closure are developed in conjunction with analysis of a wide range of eighteenth- and nineteenth-century composers, surveys of classical repertoire, and observations about the history of musical styles. A number of mathematical tools for temporal structure are also proposed.Less

Organized Time : Rhythm, Tonality, and Form

Jason Yust

Published in print: 2018-06-28

This book presents a theory of temporal structure for music, making two main arguments. The first is that a single model of temporal structure, expressible in the form of a certain type of mathematical network, is common to all modalities, particularly rhythm, tonality, and form. As a result, we can develop tools to talk about the experience of musical time in abstraction from any particular modality, and make analogies from structural phenomena in one modality to another (e.g., formal counterpoint). The second argument is that each of these modalities is in principle independent: it has its own set of structuring criteria, and it may lead to structures that agree or disagree with each other. The resulting coordination or disjunction between modalities is of more direct aesthetic importance, typically, than anything that can be said about one isolated parameter alone. These claims have deep ramifications for theories of rhythm, tonality, and form: for instance, that it is possible to discuss formal structure without necessary reference to tonal features. Theories of harmony, key, formal function, hypermeter, and closure are developed in conjunction with analysis of a wide range of eighteenth- and nineteenth-century composers, surveys of classical repertoire, and observations about the history of musical styles. A number of mathematical tools for temporal structure are also proposed.

Skryabin’s life spanned the tumultuous political events and artistic developments of the end of the nineteenth century and the early years of the twentieth but was cut short before the end of the ...
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Skryabin’s life spanned the tumultuous political events and artistic developments of the end of the nineteenth century and the early years of the twentieth but was cut short before the end of the First World War. In an era when the Russian musical scene was relatively conservative, he aligned himself with the poets, philosophers, and dramatists of the Silver Age. Possessed by an apocalyptic vision, aspects of which he shared with other Russian thinkers and artists of the period, Skryabin transformed his Romantic musical style into a far-reaching, radical instrument for the expression of his ideas. The core of the book is a full translation of the 1919 Moscow publication of Skryabin’s writings with the original introduction by Skryabin’s close friend Boris de Schloezer, brother of the composer’s life partner, Tat′yana. Schloezer’s introduction gives a vivid impression of the final years of Skryabin’s life. This text is supplemented by relevant letters and other writings. The commentary has been researched from original materials, drawing on accounts by the composer’s friends and associates. The roots of Skryabin’s thought in ancient Greek and German idealist philosophy, the writings of Nietzsche, Indian culture, Russian philosophy, and the Theosophical writings of H. P. Blavatsky are analysed, and accounts of the Poem of Ecstasy and Prometheus, the Poem of Fire show their relation to Skryabin’s world of ideas. A biographical section relates the development of the thought to the incidents of the composer’s life.Less

The Notebooks of Alexander Skryabin

Simon Nicholls

Published in print: 2018-06-28

Skryabin’s life spanned the tumultuous political events and artistic developments of the end of the nineteenth century and the early years of the twentieth but was cut short before the end of the First World War. In an era when the Russian musical scene was relatively conservative, he aligned himself with the poets, philosophers, and dramatists of the Silver Age. Possessed by an apocalyptic vision, aspects of which he shared with other Russian thinkers and artists of the period, Skryabin transformed his Romantic musical style into a far-reaching, radical instrument for the expression of his ideas. The core of the book is a full translation of the 1919 Moscow publication of Skryabin’s writings with the original introduction by Skryabin’s close friend Boris de Schloezer, brother of the composer’s life partner, Tat′yana. Schloezer’s introduction gives a vivid impression of the final years of Skryabin’s life. This text is supplemented by relevant letters and other writings. The commentary has been researched from original materials, drawing on accounts by the composer’s friends and associates. The roots of Skryabin’s thought in ancient Greek and German idealist philosophy, the writings of Nietzsche, Indian culture, Russian philosophy, and the Theosophical writings of H. P. Blavatsky are analysed, and accounts of the Poem of Ecstasy and Prometheus, the Poem of Fire show their relation to Skryabin’s world of ideas. A biographical section relates the development of the thought to the incidents of the composer’s life.

Modern audiences can learn to listen to Johann Sebastian Bach’s Mass in B Minor BWV 232 and Christmas Oratorio BWV 248 in ways that reflect eighteenth-century sensibilities and that recognize our ...
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Modern audiences can learn to listen to Johann Sebastian Bach’s Mass in B Minor BWV 232 and Christmas Oratorio BWV 248 in ways that reflect eighteenth-century sensibilities and that recognize our place in the tradition of the works’ performance and interpretation. The sacred music of Bach’s time recognized both old and new styles. In the Mass in B Minor, Bach contrasts, combines, and reconciles them to make a musical point. Listeners can also learn to hear musical types and musical topics that were significant in the eighteenth century, including sleep arias, love duets, and secular choral arias, and how Bach put these types to use. A sensitivity to musical style also offers ways to listen to and think about music created by parody—the reuse of music with new words—like almost all of the Mass in B Minor and most of the Christmas Oratorio. Parody, though interesting, is almost never audible and is of little consequence compared with what listening tells us about a piece. Modern performances are stamped with audible consequences of our place in the twenty-first century. The ideological choices we make in performing the Mass and the Oratorio, the present-day way of performing the Christmas work in relation to the calendar, and the legacy of reception and interpretation have all affected the way his music is understood and heard today.Less

Listening to Bach : The Mass in B Minor and the Christmas Oratorio

Daniel R. Melamed

Published in print: 2018-06-28

Modern audiences can learn to listen to Johann Sebastian Bach’s Mass in B Minor BWV 232 and Christmas Oratorio BWV 248 in ways that reflect eighteenth-century sensibilities and that recognize our place in the tradition of the works’ performance and interpretation. The sacred music of Bach’s time recognized both old and new styles. In the Mass in B Minor, Bach contrasts, combines, and reconciles them to make a musical point. Listeners can also learn to hear musical types and musical topics that were significant in the eighteenth century, including sleep arias, love duets, and secular choral arias, and how Bach put these types to use. A sensitivity to musical style also offers ways to listen to and think about music created by parody—the reuse of music with new words—like almost all of the Mass in B Minor and most of the Christmas Oratorio. Parody, though interesting, is almost never audible and is of little consequence compared with what listening tells us about a piece. Modern performances are stamped with audible consequences of our place in the twenty-first century. The ideological choices we make in performing the Mass and the Oratorio, the present-day way of performing the Christmas work in relation to the calendar, and the legacy of reception and interpretation have all affected the way his music is understood and heard today.

With its dynamic choreographies and booming drumbeats, taiko has gained worldwide popularity since its emergence in 1950s Japan. Harnessed by Japanese Americans in the late 1960s, taiko’s sonic ...
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With its dynamic choreographies and booming drumbeats, taiko has gained worldwide popularity since its emergence in 1950s Japan. Harnessed by Japanese Americans in the late 1960s, taiko’s sonic largesse and buoyant energy challenged stereotypical images of Asians in America as either model minorities or sinister foreigners. While the majority of North American taiko players are Asian American, more than four hundred groups now exist across the United States and Canada, and these groups are comprised of people from a variety of racial and ethnic identities. Using ethnographic and historical approaches combined with performance description and analysis, this book explores the connections between taiko and Asian American cultural politics at the intersections of race, gender, and sexuality. Based on original and archival interviews, as well as the author’s extensive experience as a taiko player, this book highlights not only the West Coast but also the Midwest as a site for Asian American cultural production and makes embodied experience central to inquiries about identity. The book builds on insights from the fields of dance studies, ethnomusicology, performance studies, and Asian American studies to argue that taiko players from a variety of identity positions “perform Asian America” on stage, as well as in rehearsals, festivals, and schools and through interactions with audiences. While many taiko drummers play simply for the love of the form’s dynamism and physicality, this book demonstrates that politics is built into even the most mundane aspects of rehearsing and performing.Less

Drumming Asian America : Taiko, Performance, and Cultural Politics

Angela K. Ahlgren

Published in print: 2018-06-28

With its dynamic choreographies and booming drumbeats, taiko has gained worldwide popularity since its emergence in 1950s Japan. Harnessed by Japanese Americans in the late 1960s, taiko’s sonic largesse and buoyant energy challenged stereotypical images of Asians in America as either model minorities or sinister foreigners. While the majority of North American taiko players are Asian American, more than four hundred groups now exist across the United States and Canada, and these groups are comprised of people from a variety of racial and ethnic identities. Using ethnographic and historical approaches combined with performance description and analysis, this book explores the connections between taiko and Asian American cultural politics at the intersections of race, gender, and sexuality. Based on original and archival interviews, as well as the author’s extensive experience as a taiko player, this book highlights not only the West Coast but also the Midwest as a site for Asian American cultural production and makes embodied experience central to inquiries about identity. The book builds on insights from the fields of dance studies, ethnomusicology, performance studies, and Asian American studies to argue that taiko players from a variety of identity positions “perform Asian America” on stage, as well as in rehearsals, festivals, and schools and through interactions with audiences. While many taiko drummers play simply for the love of the form’s dynamism and physicality, this book demonstrates that politics is built into even the most mundane aspects of rehearsing and performing.

Film music represents one of the few remaining underexplored frontiers for the field of music theory. Discovering its inner workings from a theoretical perspective is imperative if we wish to ...
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Film music represents one of the few remaining underexplored frontiers for the field of music theory. Discovering its inner workings from a theoretical perspective is imperative if we wish to understand its tremendous effects on the ears (and eyes) of the twentieth and twenty-first centuries. Hollywood Harmony applies for the first time the tools of contemporary music theory and analysis to this corpus in a thorough and systematic way. In order to help readers appreciate how film music works, this study enlists a number critical apparatuses, ranging from abstract theoretical description to psychological models and sensitive close reading. It argues that matters of musical structure in film are matters of musical meaning, and pitch relations are inherently expressive, always somehow collaborating with visuals and narrative. One harmonic idiom, pantriadic chromaticism, plays an especially important role in the “Hollywood Sound,” and much of this study is dedicated to understanding its aesthetic and expressive content—of which the elicitation of a feeling of wonder is paramount. For better understanding of this tonal practice on a rigorous level, the transformational tools of neo-Riemannian theory are introduced and applied in an accessible and novel way. Neo-Riemannian theory emphasizes musical change and gesture over fixed objects or structures, and by recognizing the innate spatiality of musical experience in extended-tonal settings, it serves as an excellent lens through which to inspect film music. The works of a diverse assortment of composers are examined, with particular attention given to recent “New Hollywood” scoring practices.Less

Hollywood Harmony : Musical Wonder and the Sound of Cinema

Frank Lehman

Published in print: 2018-06-01

Film music represents one of the few remaining underexplored frontiers for the field of music theory. Discovering its inner workings from a theoretical perspective is imperative if we wish to understand its tremendous effects on the ears (and eyes) of the twentieth and twenty-first centuries. Hollywood Harmony applies for the first time the tools of contemporary music theory and analysis to this corpus in a thorough and systematic way. In order to help readers appreciate how film music works, this study enlists a number critical apparatuses, ranging from abstract theoretical description to psychological models and sensitive close reading. It argues that matters of musical structure in film are matters of musical meaning, and pitch relations are inherently expressive, always somehow collaborating with visuals and narrative. One harmonic idiom, pantriadic chromaticism, plays an especially important role in the “Hollywood Sound,” and much of this study is dedicated to understanding its aesthetic and expressive content—of which the elicitation of a feeling of wonder is paramount. For better understanding of this tonal practice on a rigorous level, the transformational tools of neo-Riemannian theory are introduced and applied in an accessible and novel way. Neo-Riemannian theory emphasizes musical change and gesture over fixed objects or structures, and by recognizing the innate spatiality of musical experience in extended-tonal settings, it serves as an excellent lens through which to inspect film music. The works of a diverse assortment of composers are examined, with particular attention given to recent “New Hollywood” scoring practices.

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